Online research in philosophy

At least since Democritus, philosophers have been fond of the idea that material objects do not “really” have color. One such view is the error theory, according to which our ordinary judgments ascribing colors to objects are all erroneous, false; no object has any color at all. The error theorist proposes that everything that is so, including the fact that material objects appear to us to have color, can be explained without ever attributing color to objects—by appealing merely to, e.g., surface reflectance properties, the nature of light, the neurophysiology of perceivers, and so on. The appeal of the error theory stems in significant part from the prevalent thought that such explanations are strongly suggested by our present scientific conception of the world.¹.

What is the relationship between color experience and color? Here, I defend the view that it is semantic: color experience denotes color in a code innately known by the perceiver. This semantic theory contrasts with a variety of theories according to which color is defined as the cause of color experience (in a special set of circumstances). It also contrasts with primary quality theories of color, which treat color as a physical quantity. I argue that the semantic theory better accounts for the kinds of knowledge we have regarding both the color of objects that we see and of the colors themselves.

Edward Wilson Averill By the phrase 'anthropocentric account of color' I mean an account of color that makes an assumption of the following form: two ...

Philosophy has long struggled to understand the nature of color. The central role color plays in our lives, in visual experience, in art, as a metaphor for emotions, has made it an obvious candidate for philosophical reflection. Understanding the nature of color, however, has proved a daunting task, despite the numerous fields that contribute to the project. Even knowing how to start can be difficult. Is color to be understood as an objective part of reality, a property of objects with a status similar to shape and size? Or is color more like pain, to be found only in experience and so somehow subjective? Or is color more like what some have said about time--that it seems real until we reflect enough, where we come ultimately to dismiss it as mere illusion? If color is more like shape and size, can we give a scientific account of it? Various strategies exist for this option--taking the color of an object to be just a complicated texture of that object, one that reflects certain wavelengths. Or perhaps color is merely a disposition to cause experiences in us, as salt has a disposition to dissolve. On the other hand, if color is more like pain, and found only in subjective experience, what is the nature of color experience? How, for instance, does an experience of red differ from an experience of blue, or from an experience of pain for that matter? Finally, if color is mere illusion, how do we continue to be so taken in by that illusion and how can something unreal seem so real and important to us?

In this Response, I defend the notion of intrinsic qualities of experience, discuss the distinction between relational experience and relational structure, clarify the difference between narrow and broad interpretations of color experience, argue against externalist approaches to color experience, defend the concept of isomorphism as a limitation in understanding color experiences, examine critiques of the color machine and color room arguments, and counter objections to within-subject experiments based on memory limitations.

Color subjectivists claim that, despite appearances to the contrary, the world external to the mind is colorless. However, in giving an account of color perception, subjectivists about the nature of perceived color must address the nature of perceived spatial location as well. The argument here will be that subjectivists’ problems with coordinating the metaphysics of perceived color and perceived location render color perception implausibly mysterious. Consequently, some version of color realism, the view that colors are (physical, dispositional, functional, sui generis, or some other) properties of physical objects, is correct.

Are colors relational or non-relational properties of their bearers? Is red a property that is instantiated by all and only the objects with a certain intrinsic (/non-relational) nature? Or does an object with a particular intrinsic (/non-relational) nature count as red only in virtue of standing in certain relations - for example, only when it looks a certain way to a certain perceiver, or only in certain circumstances of observation? In this paper I shall argue for the view that color properties are relational (henceforth, relationalism), and against the view that colors are not relational (henceforth, anti- or non-relationalism).

In this paper I argue that color is a relational feature of the distal objects of perception, a way of appearing. I begin by outlining three constraints any theory of color should satisfy: (i) physicalism about the non-mental world, (ii) consistency with what is known from color science, and (iii) transparency about color experience. Traditional positions on the ontological status of color, such as physicalist reduction of color to spectral re?ectance, subjectivism, dispositional- ism, and primitivism, fail, I claim, to meet all three constraints. By treating color as a relational property, a way of appearing, the three constraints can be met. However, serious problems for this view emerge when considering the relation between illusory color experiences (particularly hallucinations) and veridical color experiences. I do not propose a solution to these problems.

Despite a wealth of data we still have no clear idea what color experiences represent. In fact, color experiences vary with so many factors that it has been claimed that they do not represent anything at all. The primary challenge for any representational account of color experience is to accommodate the various psychophysical results that demonstrate that color appearance depends not only on the spectral nature of the target but also on the spectral, spatial and figural nature of the surround. A number of theorists have proposed that this dependence is an aspect of the visual system's constancy mechanism. However this does not in and of itself tell us what, if anything, is represented in color experience. Ultimately the answer to this question will be informed by one's theory of representational content. I will argue that adopting a molecular scheme of representation enables the development of an account of the represented object of color experience that can do justice to the psychophysical data.